In Testament, the condition of the postcolony is embodied in the figure of activist turned television reporter Abena who returns to contemporary Ghana, for the first time since the 1966 coup that ended President Kwame Nkrumah’s experiment in African socialism.Adrift in a ‘war zone of memories’ Abena is caught in the tension between public history and private memory. The film is characterised by a depopulated frame and a deliberately cold look that evokes an emotional landscape of postcolonial trauma.
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